End of Module Evaluation
Monday 15 May 2017
Sunday 14 May 2017
How do I want my work to look?
What do I want it to communicate?
Mood and Atmosphere
As a task in 505 I had to analyse 5 inspirational illustrators with reference to my chosen subject area, editorial. However I think that the practitioners I chose, coupled with those that I tried to contact as part of my project report show where my practice is at more generally outside of 505.
Out of those listed below, Kalorkoti, McKaught and Bragg all create a strong sense of atmosphere through the use of lighting, colour and texture. Further more the way this is used coupled with the content that they are communicating often results in quite sombre and melancholy imagery something which has become integral to my practice in all of my practical modules this year and is something I am keen to further develop.
Visual Metaphors
Furthermore practitioners such as Falovari, Galo and Kalokoti regularly use visual metaphors to communicate complex ideas in a concise way which is often require from the given context (ie editorial). This is something I have also begun to focus on within my practice.
Eleni Kalorkoti
Jon McNaught
Bill Bragg
Tiaggo Galo
David Faldavari
What do I want it to communicate?
Mood and Atmosphere
As a task in 505 I had to analyse 5 inspirational illustrators with reference to my chosen subject area, editorial. However I think that the practitioners I chose, coupled with those that I tried to contact as part of my project report show where my practice is at more generally outside of 505.
Out of those listed below, Kalorkoti, McKaught and Bragg all create a strong sense of atmosphere through the use of lighting, colour and texture. Further more the way this is used coupled with the content that they are communicating often results in quite sombre and melancholy imagery something which has become integral to my practice in all of my practical modules this year and is something I am keen to further develop.
Visual Metaphors
Furthermore practitioners such as Falovari, Galo and Kalokoti regularly use visual metaphors to communicate complex ideas in a concise way which is often require from the given context (ie editorial). This is something I have also begun to focus on within my practice.
Jon McNaught
Bill Bragg
Tiaggo Galo
David Faldavari
Peter Donohoe
Partner and Managing Director at Peter and Paul
http://www.peterandpaul.co.uk/
Interview (conducted via email)
Why did you decide to start your own studio?
I worked in 3 agencies over a period of around 10yrs and during that time had periods where I worked on 3 day week contracts. This part time position within more commercially minded studios gave me the time to experience other things like DJ¹ing and music production which all fed back into design commissions and producing self initiated projects. When I first met and then employed my partner Paul (whilst working at a design studio) we quickly formed a tight bond and working relationship this spilled into freelance opportunities as a duo. We both felt that we needed a new challenge away from the security of working for others and starting our own studio was away to keep things fresh and challenging.
What were the main methods you used to build up an initial client base?
We really built up our own reputation working in other agencies helping to produce great work and gaining recognition. The clients quickly followed and we managed to pick up enough small projects and relationships with people whilst working as a freelance duo to then move this on to setting up full time. We never took any clients or projects from the agencies we worked for we didn¹t win any really big accounts that would have made the transition easy it¹s always been hard work and the knack or skill of turning water into wine. I would say for us that we¹ve always had a belief in making every piece of work as good as it can be and proving to be people how passionate and hard working we are always being open to ideas from others in the process. Having a strong network of people around you to both support and also to help diversify the client base is also massively important.
Have changes in technology impacted upon the types of jobs you receive?
I¹d say that we¹ve always had big ideas and have always mainly thought about realizing those ideas photographically so the next logical step from that was communicating via film and moving image this has only in the last 2-3 years become more affordable.
Online marketing communication tools if you work and think in a commercial environment just cant be ignored so we¹ve had to adapt quite rapidly. It¹s what people ask for 15-20yrs ago the brochure was the thing that encapsulated what a company was all about now it¹s a website which obviously as a platform can do much more.
What do you look for when commissioning professionals from other disciplines i.e. Photography? Does this vary from job to job or are there general more qualities you look for?
I think it varies massively. It¹s more agree the idea or particular communication message/route and then look for people to help us achieve that art direction has always been a huge part of what we do. But I guess people that can work well under direction plus bring their own ideas to the table and potentially challenge our own thought process is massively important.
Is there a difference when working on personal projects such Edict as opposed to projects for clients?
Yeah I think that we¹re so used to working under pressure and expectation of clients that we¹ve become less effective when left to our devices. But everyone wants freedom or the dream of creative autonomy - I guess the trick is to first achieve that and then apply it across everything you do - client or personal etcŠ Some of our best work for ourselves an clients has been instinctively driven gutsy, ballsy and ultimately more fun and rewarding.
My Thoughts
Although I was disappointed not to get a response from Bankhead or Optigram I did find Peter's very interesting and highly relevant/enlightening to my own practice.
The fact that he had at times, prior to starting his own studio, worked on 3 day contracts seems particular relevant to my own practice as he states this was so as to pursue other creative outlets. In a similar way this could be a way in balancing my involvement both commercial design with a personal illustration practice by keeping the two separate rather than merging the two.
Changes in technology also seemed highly pertinent given that moving image and image creation for web viewing has also become a major part of illustration in general as well as my own personal practice.
Partner and Managing Director at Peter and Paul
http://www.peterandpaul.co.uk/
Interview (conducted via email)
Why did you decide to start your own studio?
I worked in 3 agencies over a period of around 10yrs and during that time had periods where I worked on 3 day week contracts. This part time position within more commercially minded studios gave me the time to experience other things like DJ¹ing and music production which all fed back into design commissions and producing self initiated projects. When I first met and then employed my partner Paul (whilst working at a design studio) we quickly formed a tight bond and working relationship this spilled into freelance opportunities as a duo. We both felt that we needed a new challenge away from the security of working for others and starting our own studio was away to keep things fresh and challenging.
What were the main methods you used to build up an initial client base?
We really built up our own reputation working in other agencies helping to produce great work and gaining recognition. The clients quickly followed and we managed to pick up enough small projects and relationships with people whilst working as a freelance duo to then move this on to setting up full time. We never took any clients or projects from the agencies we worked for we didn¹t win any really big accounts that would have made the transition easy it¹s always been hard work and the knack or skill of turning water into wine. I would say for us that we¹ve always had a belief in making every piece of work as good as it can be and proving to be people how passionate and hard working we are always being open to ideas from others in the process. Having a strong network of people around you to both support and also to help diversify the client base is also massively important.
Have changes in technology impacted upon the types of jobs you receive?
I¹d say that we¹ve always had big ideas and have always mainly thought about realizing those ideas photographically so the next logical step from that was communicating via film and moving image this has only in the last 2-3 years become more affordable.
Online marketing communication tools if you work and think in a commercial environment just cant be ignored so we¹ve had to adapt quite rapidly. It¹s what people ask for 15-20yrs ago the brochure was the thing that encapsulated what a company was all about now it¹s a website which obviously as a platform can do much more.
What do you look for when commissioning professionals from other disciplines i.e. Photography? Does this vary from job to job or are there general more qualities you look for?
I think it varies massively. It¹s more agree the idea or particular communication message/route and then look for people to help us achieve that art direction has always been a huge part of what we do. But I guess people that can work well under direction plus bring their own ideas to the table and potentially challenge our own thought process is massively important.
Is there a difference when working on personal projects such Edict as opposed to projects for clients?
Yeah I think that we¹re so used to working under pressure and expectation of clients that we¹ve become less effective when left to our devices. But everyone wants freedom or the dream of creative autonomy - I guess the trick is to first achieve that and then apply it across everything you do - client or personal etcŠ Some of our best work for ourselves an clients has been instinctively driven gutsy, ballsy and ultimately more fun and rewarding.
My Thoughts
Although I was disappointed not to get a response from Bankhead or Optigram I did find Peter's very interesting and highly relevant/enlightening to my own practice.
The fact that he had at times, prior to starting his own studio, worked on 3 day contracts seems particular relevant to my own practice as he states this was so as to pursue other creative outlets. In a similar way this could be a way in balancing my involvement both commercial design with a personal illustration practice by keeping the two separate rather than merging the two.
Changes in technology also seemed highly pertinent given that moving image and image creation for web viewing has also become a major part of illustration in general as well as my own personal practice.
Thoughts on 505
After the work I completed at the studio over Easter I think 505 became quite a eye opening module for me in that I really got to grips with audience and context. This was particularly with regards to creating work of a consistent tone that would best communicate the content and appeal to the target audience.
I really thought about how and where the work would be viewed and how i could best optimise my work to work in these formats. For example choosing a reductive colour pallet so as to work better on cheap newsprint/be more cost effective as well as making sure these colours were bold enough to be very appealing and have a high impact when viewed on screen.
Furthermore I really considered how technology would impact my work, ie viewed at large scale on a laptop, small scale on a phone and how I could use digital technology to further enhance my work in a way that wouldn't be possible in print through the use of moving image.
After the work I completed at the studio over Easter I think 505 became quite a eye opening module for me in that I really got to grips with audience and context. This was particularly with regards to creating work of a consistent tone that would best communicate the content and appeal to the target audience.
I really thought about how and where the work would be viewed and how i could best optimise my work to work in these formats. For example choosing a reductive colour pallet so as to work better on cheap newsprint/be more cost effective as well as making sure these colours were bold enough to be very appealing and have a high impact when viewed on screen.
Furthermore I really considered how technology would impact my work, ie viewed at large scale on a laptop, small scale on a phone and how I could use digital technology to further enhance my work in a way that wouldn't be possible in print through the use of moving image.
Creative Report
Issues
Despite having emailed the questions a while a go to my chosen practitioners I am still get a response. I am quite disappointed with this given that both practitioners were highly relevant to my desired place within the creative industries and furthermore, given that neither work for or are involved with huge labels I would have had a good chance of getting a response from them.
I have therefore instead sent questions to Peter Donohoe, Director and co-founder of Peter and Paul design studios where I have completed work given that I should be able to get a response in the short amount of time I now have.
Issues
Despite having emailed the questions a while a go to my chosen practitioners I am still get a response. I am quite disappointed with this given that both practitioners were highly relevant to my desired place within the creative industries and furthermore, given that neither work for or are involved with huge labels I would have had a good chance of getting a response from them.
I have therefore instead sent questions to Peter Donohoe, Director and co-founder of Peter and Paul design studios where I have completed work given that I should be able to get a response in the short amount of time I now have.
Instagram
Having previously discussed lack confidence with my own work being one of my major downfalls and having attended the AOI talk where self promotion was highlighted as being essential to any successful creative practitioner I decided I needed to start putting my work out where people could view it.
Although I don't feel confident enough yet to create a website, something which the AOI spokes person said wasn't essential yet, I have created an Instagram account as she did stress that we should all have a professional Instagram account even if we hate all the work we produce.
The main reason for this is that I need to get used to having my work seen by others as at the moment I don't even share it with friends. This seems bizarre given that I have completed public facing commissions within responsive, however given that I myself wasn't showing these esigns other than to clients I didn't feel as nervous about them.
Already, despite having a small amount of followers, I think it has got me used to displaying work given that all of my friends, course mates and colleagues can see my work and often talk to me about it, something which I would previously hated but realise I need to get used to.
Furthermore I have been approached by a small label, Bercuose Heroique, for some of my artwork to be licensed. Although I am not trying to get my hopes up over this given that the communication has gone silent with this potential client in the past few days it is reassuring that people are responding to my work. In particular it has made me realise that, as stated in a previous post, it is essential to have your work available for others to see as if not how can you expect to have people approach you for commissions.
Having previously discussed lack confidence with my own work being one of my major downfalls and having attended the AOI talk where self promotion was highlighted as being essential to any successful creative practitioner I decided I needed to start putting my work out where people could view it.
Although I don't feel confident enough yet to create a website, something which the AOI spokes person said wasn't essential yet, I have created an Instagram account as she did stress that we should all have a professional Instagram account even if we hate all the work we produce.
The main reason for this is that I need to get used to having my work seen by others as at the moment I don't even share it with friends. This seems bizarre given that I have completed public facing commissions within responsive, however given that I myself wasn't showing these esigns other than to clients I didn't feel as nervous about them.
Already, despite having a small amount of followers, I think it has got me used to displaying work given that all of my friends, course mates and colleagues can see my work and often talk to me about it, something which I would previously hated but realise I need to get used to.
Furthermore I have been approached by a small label, Bercuose Heroique, for some of my artwork to be licensed. Although I am not trying to get my hopes up over this given that the communication has gone silent with this potential client in the past few days it is reassuring that people are responding to my work. In particular it has made me realise that, as stated in a previous post, it is essential to have your work available for others to see as if not how can you expect to have people approach you for commissions.
Peter and Paul (continued)
Over Easter I worked full time within the studio in Sheffield. Although I really enjoyed the work it was quite gruelling to be working 9-6 during my holidays and subsequently I think my university work has taken some what of a hit.
However I don't regret it due to the valuable experience it has given me as well as helping to solidify my contact with the studio (I have been offered more work from the 23rd of May having finished for the year the week before).
This time much of the work I completed was creating gifs and images for social media campaigns. The first week was so as to create hype/keep people interested in and hopefully buying tickets for Tramlines music festival in Sheffield. The second week involved creating similar work so as to promote a campaign/competition/launch of a new beer for the Derbyshire based Thornbridge Brewery.
What I learned
This set of work particularly helped me understand and get to grasps with how context needs to be reflected in the work you produce. Although I have touched upon this before having other professionals be, at times quite brutally, honest with how a piece of work will function within a given context really helped me better understand it.
In this case it was all about keeping the work as punchy and engaging as possible given that, due to being a web campaign, it is unlikely people will spend more than a couple of seconds looking it it. Therefore it needs to say enough to entice the viewer to click to find out more and understand the promotion but be delivered in a concise way so as they won't ignore it.
Furthermore I really had to get to grips with how different demographics would be targeted by different aspects of the individual campaigns and how I could create work that would in turn maximise participation/engagement from a variety of different demographic.
Context and demographics isn't something I had thought about in too much detail when answering studio practice briefs yet is something I realise now is essential to working and being successful within the creative industry.
Over Easter I worked full time within the studio in Sheffield. Although I really enjoyed the work it was quite gruelling to be working 9-6 during my holidays and subsequently I think my university work has taken some what of a hit.
However I don't regret it due to the valuable experience it has given me as well as helping to solidify my contact with the studio (I have been offered more work from the 23rd of May having finished for the year the week before).
This time much of the work I completed was creating gifs and images for social media campaigns. The first week was so as to create hype/keep people interested in and hopefully buying tickets for Tramlines music festival in Sheffield. The second week involved creating similar work so as to promote a campaign/competition/launch of a new beer for the Derbyshire based Thornbridge Brewery.
What I learned
This set of work particularly helped me understand and get to grasps with how context needs to be reflected in the work you produce. Although I have touched upon this before having other professionals be, at times quite brutally, honest with how a piece of work will function within a given context really helped me better understand it.
In this case it was all about keeping the work as punchy and engaging as possible given that, due to being a web campaign, it is unlikely people will spend more than a couple of seconds looking it it. Therefore it needs to say enough to entice the viewer to click to find out more and understand the promotion but be delivered in a concise way so as they won't ignore it.
Furthermore I really had to get to grips with how different demographics would be targeted by different aspects of the individual campaigns and how I could create work that would in turn maximise participation/engagement from a variety of different demographic.
Context and demographics isn't something I had thought about in too much detail when answering studio practice briefs yet is something I realise now is essential to working and being successful within the creative industry.
Will Bankhead
Optigram
Questions
How did you go about building up an initial client base?
How much autonomy do you have in terms of creative direction being the in house designer for a record label? Does it vary from label to label?
How does working for big, commercial clients differ from working for smaller, independent ones?
Why did you decide to start your own label and how did you build exposure/recognition of it? (Will Bankhead Only)
What advice would you give to someone who's practice falls some where between graphic design and illustration? Should the two be kept separate?
Rationale
I have only included a small set of 4-5 questions so as to increase the likely hood of a response. Furthermore I have purposefully chosen ones that are short enough not require loads of detail but wide reaching enough to warrant a longer, more detailed response should the interviewees choose to do so.
With regards to why these questions I mainly wanted ones that would increase my understanding of building up a client base and how working on commissions can vary depending on the type of clients. Finally I also wanted to know if they had any particular insights that could help me clarify where I sit with in the creative industry given my duel pursuits of both illustration and graphic design.
Optigram
Questions
How did you go about building up an initial client base?
How much autonomy do you have in terms of creative direction being the in house designer for a record label? Does it vary from label to label?
How does working for big, commercial clients differ from working for smaller, independent ones?
Why did you decide to start your own label and how did you build exposure/recognition of it? (Will Bankhead Only)
What advice would you give to someone who's practice falls some where between graphic design and illustration? Should the two be kept separate?
Rationale
I have only included a small set of 4-5 questions so as to increase the likely hood of a response. Furthermore I have purposefully chosen ones that are short enough not require loads of detail but wide reaching enough to warrant a longer, more detailed response should the interviewees choose to do so.
With regards to why these questions I mainly wanted ones that would increase my understanding of building up a client base and how working on commissions can vary depending on the type of clients. Finally I also wanted to know if they had any particular insights that could help me clarify where I sit with in the creative industry given my duel pursuits of both illustration and graphic design.
Life's A Pitch
Although I think we could have prepared better I think the group pitch went reasonably well given that most of us I feel within the group are quite strong public speakers.
My role
I was tasked with researching the venue and type of exhibition we would be running. We chose Hyde Park Book Club as a venue in which to display a print exhibition. This is because we felt in terms of audience it was the most appropriate due to being an alternative bar known for putting on similar events and that it also appeals to are target age. Furthermore in terms of potential success it is right by the main road and located in the centre of hyde park so therefore would have a lot of foot traffic.
Main points form the Q and A after the Presentation
The main aspect of the pitch not covered in the presentation board was the desire for our proposed collective to work more as an agency like, for example, Handsome Frank. This is because although their are strong similarities between are work such as a focus on shape, texture, print the merging of analogue and digital skills given where our individual practices sit, mainly advertising, editorial and publication, we would be unlikely to work on a collaborative projects as would be the case with people who's work is more crafts based.
Therefore we proposed to create a collective so as to build a wider social network/client base that we could each reinforce/add too by increasing our exposure through a shared brand.
Although I think we could have prepared better I think the group pitch went reasonably well given that most of us I feel within the group are quite strong public speakers.
My role
I was tasked with researching the venue and type of exhibition we would be running. We chose Hyde Park Book Club as a venue in which to display a print exhibition. This is because we felt in terms of audience it was the most appropriate due to being an alternative bar known for putting on similar events and that it also appeals to are target age. Furthermore in terms of potential success it is right by the main road and located in the centre of hyde park so therefore would have a lot of foot traffic.
Main points form the Q and A after the Presentation
The main aspect of the pitch not covered in the presentation board was the desire for our proposed collective to work more as an agency like, for example, Handsome Frank. This is because although their are strong similarities between are work such as a focus on shape, texture, print the merging of analogue and digital skills given where our individual practices sit, mainly advertising, editorial and publication, we would be unlikely to work on a collaborative projects as would be the case with people who's work is more crafts based.
Therefore we proposed to create a collective so as to build a wider social network/client base that we could each reinforce/add too by increasing our exposure through a shared brand.
Thoughts on Collaborative Practice
Although I think Responsive was essential to my development this year due to the successes outlined in previous posts I don't think the collaborative practice brief in particular was very useful despite having the potential to be so.
One of my main issues with the collaborative practice brief was that the pressure to find a group, given how bad the pitch pitcha exercise worked out, resulted in settling into briefs that weren't really relevant to my practice.
Originally I had wanted to complete the Adobe D&AD given that it required creating a series of posters and would have required working with a designer, more specifically one who was good at copy writing something that I myself am not good out. As a back up I was also interested in the Orchard Pig brief given that it required creating a marketing campaign, something I was interested to expand on having created a brand identity and campaign for Don't Look Now.
However after trying and failing to get into a group with people wanting to complete these briefs I had to settle for the BBC Edinburgh Festival D&AD brief which required the creation of an innovative app.
Although I know this brief was designed to push us outside of our comfort zone I think the brief was very fair removed from where I want my practice to go, as were the interests of the other group members which resulted in a final product that I feel didn't sit within the same sphere of the creative industry that I want to as a practitioner.
Although I think Responsive was essential to my development this year due to the successes outlined in previous posts I don't think the collaborative practice brief in particular was very useful despite having the potential to be so.
One of my main issues with the collaborative practice brief was that the pressure to find a group, given how bad the pitch pitcha exercise worked out, resulted in settling into briefs that weren't really relevant to my practice.
Originally I had wanted to complete the Adobe D&AD given that it required creating a series of posters and would have required working with a designer, more specifically one who was good at copy writing something that I myself am not good out. As a back up I was also interested in the Orchard Pig brief given that it required creating a marketing campaign, something I was interested to expand on having created a brand identity and campaign for Don't Look Now.
Submitted design board: last 4 illustrations completed by me
However after trying and failing to get into a group with people wanting to complete these briefs I had to settle for the BBC Edinburgh Festival D&AD brief which required the creation of an innovative app.
Although I know this brief was designed to push us outside of our comfort zone I think the brief was very fair removed from where I want my practice to go, as were the interests of the other group members which resulted in a final product that I feel didn't sit within the same sphere of the creative industry that I want to as a practitioner.
Pitcha Pitcha
Reason for Choosing Specific Pieces of Work:
-demonstrate the eclectic nature of my practice
-focus on the types of image making such as print and collage that I am most interested in
-show the flexibility of my practice my displaying both illustrative and design skills
Reasons for Chosen Practitioners:
-Dominic Kesterton: shows my interest in bold, graphic and shaped based imagery with a strong sense of compositional balance being a fundamental aspect of my practice
-Will Bankhead: shows my interest in design and art direction as well as giving a more specific idea of where I want my practice to sit within the creative industry
-Eleni Kalorkoti: Shows my interest in adding texture and warmth into my work so as to create a certain atmosphere in my work, particularly with regards to 504 much of which was very melancholic. Furthermore much like Bankhead it gives an idea of my more specific interests within the creative industries, in this case editorial illustration
Reason for Choosing Specific Pieces of Work:
-demonstrate the eclectic nature of my practice
-focus on the types of image making such as print and collage that I am most interested in
-show the flexibility of my practice my displaying both illustrative and design skills
Reasons for Chosen Practitioners:
-Dominic Kesterton: shows my interest in bold, graphic and shaped based imagery with a strong sense of compositional balance being a fundamental aspect of my practice
-Will Bankhead: shows my interest in design and art direction as well as giving a more specific idea of where I want my practice to sit within the creative industry
-Eleni Kalorkoti: Shows my interest in adding texture and warmth into my work so as to create a certain atmosphere in my work, particularly with regards to 504 much of which was very melancholic. Furthermore much like Bankhead it gives an idea of my more specific interests within the creative industries, in this case editorial illustration
Lifes a Pitch
Research and Rational
We met up as a group and discussed the rational of why we were working together and how best to present our work as well as looking into other collectives and how they function.
The Golden Leopard Clan
Research and Rational
We met up as a group and discussed the rational of why we were working together and how best to present our work as well as looking into other collectives and how they function.
The Golden Leopard Clan
· All work primarily with digital
processes
· Make strong use of shape and avoid
line work
· Working towards a similar market
(primarily adult publishing/editorial/banding)
· Strong focus on directed message and
communication
Rational for work
Shape and the exploration of space. Focus on effective presentation and
composition, drawn together by use of negative space, perspective and matt
mercers favourite, colour.
Appropriate Audience and Market
Mature, highbrow - most of our member's work operates within advertising, bespoke print, publishing and editorial
Identify Suitable Location/Delivery System
Hyde park book club (free exhibition space, visible from the street,
track record for similar exhibitions (edgy AF))
All hand printed, leeds local printing collectives (foot print)
riso/screen-printed
Suitable Partners
LCA, advertise internally using free notice boards. Make use of college
printing facilities and subsidised costs. Colours may vary, promotion and
advertising, Village bookshop, Fred Aldous, Foot print collective
Structure Team
Matt Mercer – Management, Chris Cooper – promotion, Luigi –
Communication, Joe Baker – Finance, Joe Warton – Experience/Contacts
Legal/Financial
Research Printing costs, Events license covers insurance for venue, look
at pricing for items, Cost of refreshments
Appropriate Professional Support
Advice from colours may vary staff, east street arts/leeds print
workshop info on printing consistently.
Devising Branding
Name/logo, basic website mock-up , Graphic burger for mock-up resources,
Communication
Group Instagram, posters, leaflets/flyers , group exhibition.
Useful in Future
Increase awareness of member’s work, build upon collaborative skills,
meet new contacts, make some cash money, experience of putting on exhibitions,
create lifelong friendships
Explain how work has benefitted your Practice
Learn from others (processes, ways of working) realise own strengths and
shortcomings, exposed to new ideas,
Peep Show Collective – Multidisciplinary practice that makes use of a
wide range of shared experiences. Similar areas of interest. Bridge the gap
between illustration and animation
Responsive
Don't Look Now
In general I felt very fortunate that with the responses module I was able to centre my module around both real world briefs and ones that were within the area of the creative industry I want my work to sit within. As well as the record design for Beezledubs I was also tasked with doing a branding job for a club night, Don't Look Now, in Sheffield that focused on playing alternative dance music.
Once again this also allowed me to work on both my design skills such as typography and layout as well as furthering my explorations into merging digital and analogue processes of image making.
Given that the job involved creating a complete brand identity it also allowed me to work across a range of different formats such as print, moving image and imagery for social media and web viewing meaning that I was able to build upon the flexible practice that I have have outlined previously in this blog.
Don't Look Now
In general I felt very fortunate that with the responses module I was able to centre my module around both real world briefs and ones that were within the area of the creative industry I want my work to sit within. As well as the record design for Beezledubs I was also tasked with doing a branding job for a club night, Don't Look Now, in Sheffield that focused on playing alternative dance music.
Once again this also allowed me to work on both my design skills such as typography and layout as well as furthering my explorations into merging digital and analogue processes of image making.
Given that the job involved creating a complete brand identity it also allowed me to work across a range of different formats such as print, moving image and imagery for social media and web viewing meaning that I was able to build upon the flexible practice that I have have outlined previously in this blog.
Responsive
Subversive Compliance/Beezledubs
I was really happy that as part of my responsive module I was able to get real commissions for work that was in the area of the creative industry that I had wanted to move my practice towards. This came in the form of record designs for what was originally going to be called Subversive Compliance but later morphed into Beezledubs: a series of limited run 12inch records.
Furthermore it was a nice merging of my interests in both graphic design due to the typographical requirements and illustration. In particular it was great to start collaging again, a process I had completely moved away from in 504 despite it being such a huge part of my practice in first year.
This was the first time I had actually worked with a client as opposed to a university brief. This was very different in a variety of ways:
-criticism/feedback is much more specific/focused ie I don't want this red, I want that sizing down etc
-the client will be a lot more honest, if they do or don't like something they will say
-it is THEIR brief, unlike working on your own projects they know what they want the work to come out like even if you have been given a lot of freedom to interpret
-format and context MUST be carefully considered
-deadlines are very tight and must be kept due to third parties, such as printers, record plants etc which are involved
-projects can change or fall through at any point ie changing from Subversive Compliance to Beezledubs which required a different set of out comes.
On the plus side I found this very rewrding due to the fact that it gave me direct experience in client interaction and working to a clients brief. Plus it was nice to see my design for sale on a variety of different websites/record stores, many of whihc I shop at!
https://www.piccadillyrecords.com/counter/product.php?pid=113891
http://www.phonicarecords.com/product/pazuzu-murmuur-beezledubs-ep-beezledubs/143564
http://www.juno.co.uk/products/pazuzu-murmuur-beelzedubs-1/640125-01/
Subversive Compliance/Beezledubs
I was really happy that as part of my responsive module I was able to get real commissions for work that was in the area of the creative industry that I had wanted to move my practice towards. This came in the form of record designs for what was originally going to be called Subversive Compliance but later morphed into Beezledubs: a series of limited run 12inch records.
Furthermore it was a nice merging of my interests in both graphic design due to the typographical requirements and illustration. In particular it was great to start collaging again, a process I had completely moved away from in 504 despite it being such a huge part of my practice in first year.
This was the first time I had actually worked with a client as opposed to a university brief. This was very different in a variety of ways:
-criticism/feedback is much more specific/focused ie I don't want this red, I want that sizing down etc
-the client will be a lot more honest, if they do or don't like something they will say
-it is THEIR brief, unlike working on your own projects they know what they want the work to come out like even if you have been given a lot of freedom to interpret
-format and context MUST be carefully considered
-deadlines are very tight and must be kept due to third parties, such as printers, record plants etc which are involved
-projects can change or fall through at any point ie changing from Subversive Compliance to Beezledubs which required a different set of out comes.
On the plus side I found this very rewrding due to the fact that it gave me direct experience in client interaction and working to a clients brief. Plus it was nice to see my design for sale on a variety of different websites/record stores, many of whihc I shop at!
https://www.piccadillyrecords.com/counter/product.php?pid=113891
http://www.phonicarecords.com/product/pazuzu-murmuur-beezledubs-ep-beezledubs/143564
http://www.juno.co.uk/products/pazuzu-murmuur-beelzedubs-1/640125-01/
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